Der Tonwille, Heft 4 (1923)

The Will of the Tone, issue 4 (1923)

Contents

Issue 4, 32 pages in length, is the first to lack any theoretical articles, presenting
eight articles on single movements, all short, and each provided with an Urlinie on the
fold-out sheet at the back, and "Miscellanea" (11 pages of small type). This issue was
planned by Schenker as a Kinderheft (issue for children), to be
issued in time for Christmas 1922, although the characterization was not ultimately
adopted. By this word, Schenker may also have meant "for piano teachers …," i.e. not for
children to read, but for the teachers of children, as a more accessible issue that
might serve some pedagogical purpose; not only are the pieces easy, but only the first
movement of each of the sonatas by Haydn, Mozart, and Beethoven is analysed.

The pieces are technically easy and in simple keys (five in C major, three in G major),
and the analyses are free of polemic. Arranged in broadly chronological order, they are
by J. S. Bach (from the Twelve Little Preludes, of which
Schenker was to contribute analyses of five to Der Tonwille and
a further three to Das Meisterwerk in der Musik), Handel, C. P.
E. Bach (one from the selection of sonatas that he himself edited in 1902, one from a
collection edited by his pupil Otto Vrieslander in 1914), Haydn, Mozart, and Beethoven.
The "Miscellanea," although not devoid of polemic, was more than usually related to the
analytical contents of the issue, featuring four of the six composers.

Publication History

Issue 4 was released on January 19, 1923 (OC 52/339). [to be completed]

Correspondence

Acknowledges OJ 11/35, 20 and composition; expects to be able to comment on
Halm's Klavierübung in Tonwille 4; reports Leipzig University's decision not to appoint him;
speculates on the impact of Kontrapunkt 2 and Der freie Satz; public difficulty in accepting
Urgesetze. — Aristide Briand: The importance of being well-read on a topic before commenting in
public: Schoenberg and Reger; newspapers. — Maximilian Harden: although faithful to Schenker,
Harden had not mastered the topics on which he wrote. — National Govenment: Schenker's
publishing plans, including "The Future of Humanity": man's anthropomorphic thinking is a
delusion, he needs to adapt to nature, to return to a primitive state, to abandon "development"
and "progress" and return to primordial laws; inferior man wants to "govern" (bowel wants to
become brain); Schenker deplores "artifice" (French) as against nature (German). — Things
French: praises German superiority over French in its joy of work. — Higher Plane: the German
should not abase himself before the Frenchman.

Schenker reports the imminent publication of Tonwille 3, and some new publishing
ventures, including a (new) edition of music by C. P. E. Bach and an "Urlinie Edition" of the
Short Preludes by J. S. Bach.

Responding to a letter from Violin despairing of the political situation in
Germany, Schenker quotes a passage from Pastor Gustav Frenssen's Letters from America, which
resonate with his own views that German society is, in effect, ruled by foreign despots.

Having settled into country life in the Tyrol, Schenker returns to his work, in
particular to the ongoing battles with Hertzka over the publication of Der Tonwille. He asks
Violin’s opinion about a subscription plan for a periodical that would appear four times a year
(instead of the current two), and hopes that his friend might spare a few days to visit him in
Galtür.

Dahms has received Tonwille 4 but not yet examined it. — Has deferred work on
his Haydn book because of financial problems over Musik des Südens and poor take-up of
subscriptions. — Debates whether to attend the Leipzig musicology conference. — Comments on
German politics as the occupation of the Ruhr unfolds, and compares German attitudes with
Italian.

In a wide-ranging letter, Schenker expresses his joy at Karl Violin’s improving
health, and goes on to mention a number of personal successes he has lately had, including a
visit from Paul von Klenau to take advice for a forthcoming performance of Beethoven’s Missa
solemnis. He has also had some unexpected support from his publisher, who wants to expand Der
Tonwille to a quarterly publication. He is planning to take part in a series of charity concerts
(three Haydn piano trios), and has heard that Clemens Kraus and Hans Knappertsbusch are
overtaking Furtwängler as conductors in Vienna by accepting more modest fees.

Schenker confirms Violin's interpretation [given in his previous letter] of the
"Appassionata" Sonata, and describes continued difficulties with Hertzka. Herman Roth has
written to say that he and his son are using Schenker's analyses of Bach preludes in their
counterpoint classes, and expresses the hope that one day they will continue Schenker's work
independently.

In response to matters raised by Halm in two previous letters, Schenker discusses
figuration, distinguishing between that which works only on the surface and that which arises
out of the middle and background, drawing on primal intervals. He also concedes that he heard
Bruckner improvising, and criticizes it adversely. He refers to Reger, and outlines plans for
forthcoming volumes of Der Tonwille.